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Brahmotsavam May Be A Big Blow At The Boxoffice

Subhash K . Jha



Brahmotsavam May Be A Big Blow At The Boxoffice

…But It Is Destined To Be Acknowledged As A Minor Classic, Says Subhash K Jha

So the blame game has started. Whenever an excessively ambitious film flops, the  doomsday revellers have a field day demolishing the endeavour as though it deserves every bit of its debacle.

And so it is that Mahesh Babu’s fans are busy breaking the internet with condemnation for director SrikanthAddala, who contrary to the boxoffice results, has done a fine job and a very ambitious and ultimately unmanageable task of putting together the ultimate homage to that near-extinct institution that we once so revered.

The Indian Joint Family.

The film is a sublime take-off on Sooraj Barjatya’s Hum Saath Saath Hai . The sprawling acres of festivity populated by relatives friends and associated who keep popping in and out to partake in the pleasures of brotherly bonhomie.The epic canvas is done up with far more finesse than was seen in Barjatya’s film.

In Bramhotsavam the vast family is captured in panoramic swoops of  celebratory songs and dances shot in striking colours of ecstacy.It’s a pleasure to treasure watching Mahesh Babu step back from the centre of his universe to  allow the whole mammoth cast a stroll across the canvas to remind us that the pleasures of a united Hindu family are not over. Not yet.

Filled with some very endearing actors Brahotsavam is what Barjatya’s Hum Saath Saath Hain would have been had it been done at a more aesthetic scale.The heightened emotions of a family that lives, eats, sings dances and, yes, worships, together are here scaled to a steep level  of emotional expression. But the tone never gets shrill. This is the magic of Brahmotsavam that the disappointed audiences have missed completely. The characters are trapped in time-zone where bliss is generated by a self-governed democracy of domesticity that has no connection with the reality outside the family mansion.

The way the director weaves in and out of the family idyll’s endless excursions into euphoria is emphatically endearing to watch. At the helm of the helium-induced euphoria is the father-son relationship played at a perfect pitch by Sathyaraj and Mahesh Babu.

From their body-language we can see the two are buddies first, father-son thereafter.

Not that Mahesh Babu is any less attached to mother, played by Revathi. He can as easily discuss saree shades with her as he can thresh over entrepreneurial finer-points with his father. The hero here seldom sits still. He is all over the house including the ladies’ section, just like [tooltip id=”88b6af99531f838ed90aed058b7d870a”][tooltip id=”c1b465420d07c688942ed18eadfd9f92″ keyword_color=”#000000″ background_color=”#ffffff”][tooltip id=”4db8f5608d45f5de7881d9bce162f4bf”]Salman Khan[/tooltip][/tooltip][/tooltip] in Hum…Dil Chuke Sanam and Hum Saath SaathHain. He is the consummate metro-sexual man equally comfortable with his machismo and sensitivity.He befriends the two beauties Kajal Aggarwal and Samantha Ruth Prabhu, but commits himself to a relationship only with one.

Into the humdrum of the domesticity the director weaves the sounds of familial harmony and genealogical allegiances, torn sunder by the ‘outsider’, the disgruntled brother-in-law(Rao Ramesh) who can’t bear to see the joint strength  of Mahesh Babu and his screen-father presiding over the domestic paradise.

Mahesh Babu’s father’s quiet death(he dies unobtrusively while conversing with his son) signals the second movement  in the plot where the hero sets out to trace and collect his family roots from all over the country.

This is where the film’s silken threads , so delicately woven into the fabric of family together, comes apart at the seams, exposing a serious lapse of purpose and intent.

In some ways Brahmotsavam fails to hold together in much the same as the joint-family system. Just because family values are no more a matter  of predominant concern to our society at large, it doesn’t follow that the dynamics of familial unity are to be discarded by our cinema. Bramahotsavam is a brave and winsome effort to show the joint-family system as far from dead.

Long live the joint family.

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Ram Charan Teja’s Film Is  The Biggest After Baahubali, Big Bash Next Week

Subhash K . Jha



It’s party-time for Telugu superstar Ramcharan Teja whose new release Rangasthalam has broken all records in Andhra Pradesh  to become the second-most successful film in that state after Baahubali of all times.

The humbled and  stunned  star Ramcharan and his legendary father  Chiranjeevi are now planning a huge celebration bash for next week which would give the  film’s team a chance to celebrate with  their fans.

Confirming the  celebratory bash Ramcharan Teja  says,  “We are planning something major  for the 13th  or 14th of April. Of course, we have to celebrate the success  of Rangasthalam. It has surpassed all expectations. We never expected it to be  so huge. So we must share our joy and gratitude with everyone associated with the film.”

All the gates of the celebratory venue would be thrown open to the fans and  distributors.

Says Ramcharan, “We want to celebrate  with all the distributors  of the film who believed  in our  dream and fans who made it possible.Because  of them I am now encouraged to attempt more  out-of-the-box films. My next film to be directed by Boyapati Srinuwould be routed  to reality. It would be a  subject very  close to the grassroots.”

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News & Interviews

Sairat Director Plays Child Rapist In New Marathi Film

Subhash K . Jha



Nagraj Manjule

“Someone Has Got To Do The Dirty Job…”

The  very accomplished Marathi filmmaker Nagraj Manjule has just  made his full-fledged acting debut in the Marathi  film The Silence.

Shockingly enough, Nagraj plays a child rapist and a wife beater. He is not only shown brutally raping and  beating his wife(played by the  very accomplished Anjali Patil) his character also violates a little girl who happens to be his niece.

Now Nagraj is  flooded with hate calls from all across Maharashtra.

Says the  shy reticent media-wary director, “Did I expect this kind of a backlash? I  wouldn’t say I am surprised. Because ours is a predominantly emotional audience and it reacts  not to the performance but to the character played by the actor.”

While accepting this heinous role Nagraj was aware he would be  judged harshly. Actors like Farhan Akhtarhave gone on record to say they would be loath to play rapists and serial killers,given the rise in crimes against  children and women.

Argues Nagaraj , “That  perception of keeping away  from morally reprehensible characters  is  not  to be judged by me.Actors who say they will stay away from negative characters are right in their own way, as they are seen as role models. Me? I have a different take on  the issue of actors pre-judging their characters’ morality.Someone has  to do the dirty job in order to bring out the morally correct viewpoint in a  film. If I hadn’t  played the evil sexually discrepant  Maama(uncle) in The Silence  the  film’s strong statement  on protecting our children and women from violence would have been diluted.”

About being seen as a villain by the audience Nagraj shrugs, “Isn’t that a compliment to my skills as an actor? The very distinguished Marathi actor Nilu Phule who was a fine human being in real life, spent most of his career playing evil characters, so much so that he was perceived as an undesirable human being.And he was proud of that.”

Nagaraj sees the sexual predator in The Silence as  no ordinary  villain. “He is that evil force within us  lurking in so many middlclass homes. So often we hear of children being violated by trusted relatives. We all have  evil and positivity within  us. Which of  the two sides in our personality is given predominance is determined by  our own moral values.The uncle who rapes  the little girl in The Silence could be anyone anywhere in any home. We  need to be conscious of  his presence. One way of doing so is by putting him on screen  for all to see.”

Nagaraj sees a lot of reformist cinema such as The Silence and  Nagaraj’s own historic Sairat happening in Marathi. “I suppose historically , West Bengal and Maharashtra were at  the forefront of  the reformist movement.Samaaj sudhar is an  organic part of Marathi society and  cinema.We need to make many more films on issues such as  sexual violence and paedophilia.”
So is  this the beginning  of a parallel career  for the National award winning filmmaker?

“Not really . If you remember I’ve done bit parts and cameos earlier. I had one in my own film Fandry. But  The Silence is  my first full-length role. I’d love to explore more acting  possibilities.”

In November Manjule Nagaraj begins shooting for his  first Hindi film starring Amitabh  Bachchan.

So would he have a role in that?

“I  will see if there is a chota-mota role for me .Who wouldn’t like  to share screen space with Bachchan Saab?  But  when I am directing I’d rather not do a major role myself.I am not so skilled as  to balance out two roles as a director and an actor in the same film.  But when I am directed  by someone else I’d like to  be seen in bigger roles.The Marathi stalwart Dada  Kondke could act and direct himself in film after film. I don’t have a  multi-tasking skill.”

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Gujarati Movie ‘Hu Tara Ishq Maa’ Trailer Out Now

SKJ News Bureau



Love and romance are integral part of our lives and so most filmmakers try to capture this emotion and showcase it in a larger than life way on celluloid. Romantic films have a ‘feel good’ factor and who would not like to see heart-warming stories which are make-believe and want you to fall in love. Well, directors have mastered the art of romantic films. Gujarati film director Raj Boricha and Chanda Patel beautifully captured love story of Suraj Kumar and Priya Soni Produced by Chanda Patel under the Banner of Blue Diamond Production House.

The film trailer has been out now on YouTube, Introducing actor Suraj Kumar, the new emerging talent. He is paired opposite Priya Soni. Suraj will be seen playing a cricketer and Soni will essay the role of a tennis player.

The movie story revolves around two teenagers where they fall in love in college but faith tears them apart. After the long struggle, their strong love helps them to find each other.


‘Hu Tara Ishq Maa’ The film directed by Raj Boricha and Chanda Patel, is based on youth, relationships, ambitions and the twist of destiny. The film will hit the screens on November 3. We promise that you will be in a loving, romantic mood for at least the rest of the week with these classically sweet and passionate mix story.

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“I’d Love To See Samantha Continue Acting After Our Marriage,” Naga Chaitanya




“I’d Love To See Samantha Continue Acting After Our Marriage,” Naga Chaitanya

I’d Love To  See Samantha Continue Acting After Our Marriage,” NagaChaitanya Opens Up On His Impending Marriage With Samantha Ruth

If I thought I’d be encountering a nervous young actor awaiting the release of his big film , I was wrong.Telugu superstar Nagarajuna’s elder born is Naga Chaitanya is surprisingly comfortable in his space.

“We’ve worked really hard on Premam. Though it’s a remake of a Malyalam film, we wanted to give it a fresh look feel and execution. For me the challenge was to play a guy in love who goes from age 14 to 30. I loved doing the physical and emotional transitions. Also, love and its fascinating facets are very close to my heart.Yeah , this is a film very close to home.”

He laughs shyly, as talk veers towards Chaitanya’s  relationship with actress Samanth Ruth.  Chaitanya is disarmingly candid about his feelings and plans with Samantha. “Yes, we’ve been in  a relationship for a while now.And we’re getting married. The marriage will happen in the later part of 2017 sometime in the final months next year.We haven’t fixed on wedding date. We’re getting engaged shortly.My younger brother Akhil is getting married first.”

There is no tradition of female actors in Nag’s illustrious family.Chaitanya doesn’t mind breaking that tradition. “I’d love for Samantha to continue acting after our marriage. She has worked hard achieve her stardom. Unlike me she had no family empire to back her career in Telugu cinema. She is a first-generation actor in her family.Her struggle and success are far more  admirable than mine.”

I disagree with Chaitanya and point out that Samantha came to the industry with zero expectations whereas a star-son  like Chaaitanya is weighed down by audiences’ unreasonable expectations.

The young actor who started his film career with Vasu Varma’s Josh , mulls over that one. “You may be right. But I’ve made many career mistakes in the 8 years that I’ve been acting. I did films that I never should  have. I was young inexperienced and a bit reckless. I think I’ve finally come into my own Premam.”

Chaitanya watched his new film and he was happy with what he saw. “We’ve achieved what we set out to make. Audiences like me in  soft romantic roles and Premam ticks all the boxes . Now everything depends on how the audience responds to my film in relation to the other films being released this week. It is the festive season and people are  in the  mood  to see films. But this doesn’t mean they will favour my film just because I am from a distinguished family. I am now going to be judged for what  I deliver, and not where I come from.”

The clear-headed youngster admits he takes his father’s advice. “I show him all my scripts. His approval in every aspect of my life is very important.Being his son has been a huge advantage for me. Of course after the initial advantage I am on my own.No one will go to see my  film now because of my father.”

Are the two brothers close? “Akhil and I more friends than brothers. Being younger, one would expect him to seek my advice. But it’s the other way around. Akhil gives me  advice.And I gladly take it. We are all looking forward to his wedding .It would be the first marriage in our family in a long long time.”

Chaitanya’s next is a home proction produced by his father Nagarajuna to be directed by Kalyan Krishna. “It would be slightly removed from the romantic roles that audiences expect from me. But not too much of an experimentation. I think I did experimental roles too early in my career.At the moment I need to consolidate myself at the boxoffice. I hope Premam achieves that for me.”

He is promoting Premam  to the best of his abilities. “But we really can’t match Mumbai in promotions, even if we tried.”


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I am overwhelmed by the support for Thithi: Raam Reddy

Subhash K . Jha



Raam Reddy’s Thithi

Raam Reddy’s Thithi has fetched him a rare renown. Critics have hailed this Kannada film as a unique experience, the kind one gets to experience very rarely in Indian cinema. Subhash K Jha spoke to the film’s director .

A remarkable achievement like Thithi happens once in a while. Did you expect the film to make such an impact?

Never once while making the film did we expect it to receive such wide-spread acclaim as well as audience acceptance and appreciation. Making the film itself was such a tremendous challenge, that all our focus was on managing to just complete the film to our satisfaction. We always intended to make a “warm” film that was realistic and observational, but at the same time cinematic with a humour that was particular to the world we were trying to create. I believe it is this playfulness that is at the core of Thithi’s national and international success.

Tell me about its genesis?

The film began in an unorthodox way, with the decision to make a film in the particular place, the village ofNodekoppalu, being the seed of the film. Nodekoppalu is the home town of the primary writer and casting director of the film, the very talented Eregowda. Eregowda and I have been friends for 15 years. It was our relationship that was the core collaboration of the film; an insider and outsider combination that eventually lead to a nuanced authenticity with stylistic particularity. We also took the unorthodox decision to cast the three main actors before we came up with the story, and then, once we spent time with them and got to know them well, we used all our research to write a script for them.

How difficult was it for you to gather the funds for the project?

I am lucky in this way because the primary production company that backed the film, Prspctvs Productions, was a production house started by my father, Pratap Reddy, and myself. The film was fulfilled by funding from Prsptctvs, and later from the support of Sunmin Park and J. Ethan Park, veteran Hollywood producers from Maxmedia based in California.

How did you get a foreign producer interested in the project?

Sunmin Park (Producer of the The Others starring Nicole Kidman) came on board the project as a producer at Film Bazaar in Goa in 2014. She was one of five international mentors in the Work-in-Progress Lab where filmmakers present a line-up or rough cut of their film and receive invaluable feedback on how to shape the film towards its completion. She loved the film, and came on board right after seeing it. Her brother, J. Ethan Park, also came on board as Executive Producer.

You’ve received tremendous support and attention in Mumbai. How did that happen and do you think that support bolstered Thithi’s lifespan?

Absolutely. I am overwhelmed by the support for Thithi from industry leaders in Mumbai. Key supporters have been Anurag Kashyap, who was one of the first people in all of India to see Thithi. We met at the Locarno Film Festival, and since then he has been a wonderful champion for the film. I also had the immense honour of sharing the film with Aamir Khan and Kiran Rao about ten days before the release. I was lucky to meet Kiran Rao when the film was screened in the International Competition section of the Jio MAMI Mumbai Film Festival. Kiran Rao was incredibly kind to organise a special screening of Thithi, where key people who helped push the national release watched the film. Also, an unforgettable moment in this journey is when Aamir Khan wrote five overwhelming tweets about Thithi; an honour that is hard to describe in words for a first time filmmaker like myself.

Who are the filmmakers you admire?

I admire so many filmmakers that it is hard to list a few. I learnt the language of filmmaking mostly from watching the world cinema of masters like Michael Haneke, Wong Kar-Wai and Emir Kusturica. At the moment, I have great admiration for many filmmakers from my generation such as Gabriel Mascaro, Emin Alper and Chaitanya Tamhane. I also have immense admiration for David Simon, the creator of the television show The Wire.

Thithi features actors who don’t act. How did you get such natural non-performances from the entire cast?

All our filmmaking techniques were geared towards aiding performance. Eregowda’s relationship with the people and the place was key in creating a comfortable and familial environment. As a crew, we were extremely flexible and had to be highly reactive. We often did a lot of takes, and re-shot scenes some times. In my treatment of film, I decided to eliminate blocking to help the non-professionals be more focussed on their body language and delivery rather than physical positioning; therefore, when an actor moved, the camera moved with them at the same speed. Then there were a lot of direction techniques that were tailor made for each actor depending onEregowda and my reading of their personalities.

Patriarchy and property paranoia are predominant in your plot. Do you see rural India as being governed by these two aspects?

‘Governed’ is a strong word, but I do think they play a significant role in the rural social milieu. That is something we experienced first hand while we were in our creative exploration period. All said and done, we did not attempt to make any political statements through the film; the core of the storytelling for me was to compare three generations of characters, two who are materialistically driven, and one who has transcended materialism. This for me is the spiritual core of the narrative, and the primary intention.

How easy/difficult was it for you to shoot on location in such a village where basic amenities were not available?

We had a wonderful local productions team lead by Eregowda who looked after the entire crew and cast extremely well. The food on set was made with so much love, and everyone found a family within the community that made the film. We had collaborators from Holland, USA, Mumbai, Kerela and many other parts but boundaries were quickly dissolved. We did have to heat our hot water for baths in big metal pots and we managed with make-shift toilets, but it felt very natural for all of us – perhaps it was beautiful surroundings and clean air – and wasn’t a struggle at all.

What is your next project? 

I am yet to completely fix on the content of what I am doing next, but it will be a film that is very different fromThithi. I am keen on working in the magic realism genre, and making a film that is bit more personal. That kind offilmmaking requires more creative control over the craft, and for that reason I am likely to want to work with professionals. As an artist, I like to treat each project in stylistic isolation and make every film as original as possible, while keeping an underlying often hidden philosophy and spirituality the common thread between all my work.

Do you think the language(Kannada) limits your vision in any way?

No, not at all. I love the particular dialect that the film has been made in. It has a musicality that is particular and nice to listen to. Also, with maintaining authenticity being the keystone of our process, the choice of the place was key to the quality of the final product, which in turn is reason for widespread recognition.

Would you like to work with Bollywood stars?

Casting for me always comes second to the intention and story of the film, I would love to work with any actor who would fit my vision for the film, whether they are a star or not. I think that is the key to making organic and meaningful films. Having said that, there are many amazing Indian actors such as Irrfan Khan and NawazuddinSiddiqui whose work I admire and I would love to work with.

Which are the Indian films  lately that according to you take our cinema forward the way Thithi does.

Films like Court and Masaan are great examples of amazing debut films by Indian filmmakers that have made a mark on the international level. Also, both these films use realism as a stylistic choice, and this is something that resonates with me personally.

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Thithi Movie Review: A Ground-Breaking, Rule-Bending Slice Of Savage Life Masterpiece!

Subhash K . Jha



Raam Reddy’s Thithi

Thithi  Is A Ground-Breaking, Rule-Bending Slice Of Savage Life Masterpiece


Starring: real people

Directed by Raam Reddy

There are no actors , at least none that I could catch acting, in debutant director Raam Reddy’s Thithi, that 13th day feast after a death in the family when relatives friends and strangers are fed to burp so that the dead one’s soul departs peacefully.

[wp-review id=”1856″]

And never mind the family of the deceased whose soul is sometimes sold off to collect funds for the 13th day binge.

In the way non-actors “play” characters in Thithi the film comes closest to Mahesh Tamhane’s Marathi film Courtlast year. Coincidentally that film too had a wizened nomadic non-conformist man at its helm . The greying bearded man in  Thithi is Gadappa(Chanegowda) whose restless wanderings across the impoverished village in Karnatakagives to this bare austere and unassuming film a sense of imminent  intangibility.

Permanence, says Gadappa’s attitude without actually stating it,is a futile pursuit. Gadappa’s sonThamanna(Thammegodwa) wants the ancestral land to tide him over his financial hardships even it means killing off his father, on paper at least.

There are many moments in the visuals that capture the underbelly of  the heartland with an complete absence of pride or prejudice.Men who feel a nirvanic ecstasy at the thought of a non-vegetarian meal, women who cook for and bully their husbands as a part of a day’s work, and youngsters who cut down wood and wade into ravines to supplement the family’s meager income.

This is not the brand of poverty Bollywood is comfortable with.

The quirky plot is unparalleled by anything we’ve seen so far in Indian cinema of any genre or language. DirectorRaam Reddy is remarkably dispassionate  in his pursuit of  the essence of existence in a plot that scoffs at all attempts to find a moral centre. While the great-grandfather dies at 100(hence named Century Gowda in the village that never seems short of excitement even without the invasion of the internet) the grandfather  Gadappa wishes torenunciate all family obligations to live the life of a gypsy while his son Thamanna pursues the family’s property with life-sustaining urgency. As for the youngest scion of the family Abhi he is so horny he can’t think straight  and spends his time stalking a shepherd girl Kaveri .

They do f..k at the end , before life fucks them over.

As I read the above plotline I find the description to be most unsuitable to describe what really happens in Thithi as the male members of one impoverish rural family in a village of Karnataka uncovers their innermost cravings from greed to lust in  a thrust of fate that moves calmly across  the film’s craggy skyline in a ziz-zag of unvarnished emotions, too  deep for hysteria or melodrama but never too sacred for savage satire.

Death is treated as  a kind of running  gag in the raw storytelling. The first 10 minutes shows the leery uncouth great-grandfather taunting and heckling every passerby before dropping dead. No one is sorry to see this man go after he has clearly overstayed his welcome. What follows can be termed as a funereal farce or a cremation comedy of errors where the desperation of poverty eventuates in a bankruptcy of grace in dealing with bereavement.

These are people who don’t care  if people are looking while they sort out their insurmountable problems. The camera never lies in preparation for an emotional ambush.Cinematographer Doron Tempert  is happy to look at the unsophisticated characters with a complete absence of fuss and finesse. Thithi is a pithy and pungent satire on the premium we place on human life when it is besieged by poverty.

Miraculously director Raam Reddy weaves a love story between a porn-addicted village boy and a remarkably unspoilt gypsy girl into his brew of bizarre bereavement.These are people who will find their pleasures even as life pulls them down to the ground and crushes their desires.

I don’t know how the director has done what he has done in Thithi: you know, make a film that doesn’t look sound or smell like a film. But Raam Reddy has done it. And we can only bow our heads in reverence .

Every year there is one outstanding non-Bollywood film that throws forward a socio- cultural dilemma in a style so direct and blunt that it doesn’t feel like cinema.Thithi is that rare achievement of 2016.It is so real,it is unreal!

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Karthi, Aditi Flying High For Mani Ratnam’s Film

Subhash K . Jha



Karthi, Aditi

Karthi who flew into dizzying renown with his latest release Oopiri will soon start preparing for his Tamil-Telugu-Hindi film, a romantic drama about a pilot and a dancer.

For the role Karthi will actually learn how to fly a plane.

Says a source very close to the project, “There are reports flying around that Karthi has already started training to fly a plane. Not yet. He is busy with another project. As soon as he is done he will immediately start training for Mani Sir’s film and yes, he will actually learn to fly a plane.”

Karthi will also be put through rigorous workshops with his co-star Aditi Rao Hydari who is learning Tamil for her role.

Says  the source, “It isn’t decided yet whether Aditi will dub her own lines in Tamil. But she has been briefed by Mani Sir to know the language so that she can feel the emotions. Mani Sir also wants her to attend rehearsals and workshops with Karthi so that they look comfortable in  the romantic scenes.Both Karthi and Aditi are shy people. They need to get to know one another before shooting starts.”

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Amit Sharma , The Badhaai Ho Director Finally Speaks Up On The Writers’ Row

Jyoti Kapoor claims she deserves credit for writing the script of Badhaai Ho? Badhaai Ho! , the film that came...

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Breaking News: Filmfare Awards Questioned By Food & Drug Adminstration

For years the popular awards have been sponsored by flush-with-funds companies, some of them of dubious caliber. While earlier, no...

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Ranbir Kapoor Shocks The MeToo Movement

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Industry Comes Forward To Help Actor Turned Watchman

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Alia,Varun Bag The Juiciest Roles In Kalank

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7 Reasons Why KESARI Has Blockbuster Written All Over

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No Fathers In Kashmir Trailer Launched By Mahesh Bhatt,

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Tanushree Dutta Tells About The Guest Speaker At Harward

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Akshay Kumar Takes On Rajamouli’s RRR In Eid 2020

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Irrfan Khan Tells Why Shashi Kapoor Will Always Have A Special Place In His Heart

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Salman Khan Names Ranveer Singh A Superstar,And There Is A Reason For It

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The Real Reasn Why Saina Nehwal’s Bio-Pic Changed Hands From Shraddha To Parineeti

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Aamir Khan To Play Tom Hanks In Forrest Gump

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“I Only Focus On Delivering The Best”, Says Bollywood Singer Shilpa Surroch

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Shruti Haasan Spills Some Interesting Secrets On MX Player’s Famously Filmfare – Tamil

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The Film industry Responds About The Losing Credibility of Popular Awards

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Director Sujoy Ghosh couldn’t be in a better place. And I mean that literally. He is in Kolkata when I...


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